绘画

Therefore, The abstract painting is the concentrated reflection of the artistic appeal of painting.

因而，绘画的艺术感染力集中体现在绘画的抽象性中。

I do not want to talk about pure abstract painting, just put emphasis on abstract factors in concrete image.

在此我并不想谈论纯粹的抽象绘画，只是想强调具象绘画中的抽象因素。

He has demonstrated that physical presence becomes involved in the process of painting before anything abstract gradually shapes up.

这恰恰证明了个人在的绘画过程中，首先是身体对于绘画过程的介入，之后才使一切抽象的意识逐渐成型。

In this case, the abstract painting was produced and the painting has been totally turned into an abstract symbol.

以至到了抽象绘画的产生，绘画则完全变成抽象的符号了。

Starting from Master Lin Fengmian, generations of outstanding Chinese artists have, in their inquiries of modern Chinese painting for almost a century, been trying to ingeniously merge the oriental art traditions with the modern western approaches, especially the abstractionism, or to balance the two heritages in a personal fashion so as to achieve a genuine breakthrough in the language of painting. This paradigm came into being in the later half of the century and new masters have been on the rise.

近一个世纪以来，在中国现代绘画的探索中，自林枫眠始，几代中国艺术家的佼佼者一直在试图将东方传统与西方的现代，尤其抽象表现艺术进行了巧妙的结合，或者说是以个人的方式平衡了这两种因素，从而在绘画语言上取得真正的突破，这个框架在此后的半个世纪间已经构成，并出现大家。

The discussion of this issue is barely involved with how the spirit of Utopia and individual value that exist naturally in the Western abstractionism have decayed and weakened while it is developed in China style. Instead, it concerns the gains and losses of 'nationalizing' the oil paintings, safeguarding cautiously the inherent spirit of the modern tradition, which, together with non-painting avant-garde art and figurative paintings, constitutes the three-pillar fine art forms.

这个问题值得讨论之处，已不再是西方抽象主义原本具有的乌托邦精神和个人价值，应如何在迁就地"国化"的过程中衰减和削弱，而是应联系到油画"国化"的得失，警惕地守护这个据说与非绘画性前卫艺术、具像绘画等鼎足而三的现代传统的内在精神。

Abstractionist painting is the avant-garde of the modernist art , representing a major breakthrough of 20-century painting.

抽象主义绘画是现代派艺术的代表，是廿世纪绘画发展的重大突破，但在我国尚缺乏必要的研究。

Kandinsky, the founder of the abstractionist art once claimed more thoroughly that "Color is the form and the theme". Though it is somewhat biased, he is the forerunner of introducing the musical rhythm and melody into abstract symbolic language by point, line and plane in colors.

抽象绘画鼻祖康定斯基更彻底地宣言"色彩就是形状和题材"，尽管有其偏执的一面，但他在用色彩的点线面完成的把音乐节奏、旋律感觉带入抽象化符号语言的探索，开创了抽象绘画艺术的先河。

The above is the primary spiritual axis of my works between 2006 and 2008. The action of painting has been expanded to re-recognize the constitution of actual space and painting space, and it has radiated to become some kind of absolute immanence force.

以上是笔者二○○六年到二○○八年作品主要的精神轴心，从绘画行动的扩展重新体认到绘画空间、实际空间的组构并辐射成为某种绝对的内势力量。

For an artist as Gibran who have a dual status, to break the obstruct between literature language and painting language and study the relation between his literary works and his painting may be a new way to approach Gibrans spirit and to explain his literary and art work.

对于纪伯伦这样有着双重身份的艺术家来说，打破文学话语与绘画话语的隔膜，对他的文学与绘画的关系加以探讨，可能是我们接近纪伯伦的心灵世界，解读他文学和绘画作品的一个新颖的角度。

We have no common name for a mime of Sophron or Xenarchus and a Socratic Conversation; and we should still be without one even if the imitation in the two instances were in trimeters or elegiacs or some other kind of verse--though it is the way with people to tack on 'poet' to the name of a metre, and talk of elegiac-poets and epic-poets, thinking that they call them poets not by reason of the imitative nature of their work, but indiscriminately by reason of the metre they write in.

索夫农 、森那库斯和苏格拉底式的对话采用的模仿没有一个公共的名称；三音步诗、挽歌体或其他类型的诗的模仿也没有——人们把&诗人&这一名词和格律名称结合到一起，称之为挽歌体诗人或者史诗诗人，他们被称为诗人，似乎只是因为遵守格律写作，而非他们作品的模仿本质。

The relationship between communicative competence and grammar teaching should be that of the ends and the means.

交际能力和语法的关系应该是目标与途径的关系。